At this point pretty much the only opera activity I’m aware of in Toronto for July and August is the Toronto Summer Music Festival. I previewed it back in March and I think that information is still good. If more comes in I’ll pass it on.
Opera 5 opened a run of Rossini’s The Barber of Seville at the Factory Theatre last night. It’s arguably the most conventional thing Opera 5 have done. It’s a (very) mainstream piece. There was no accompanying themed food or drink (a glass of Rotsina?). There was no audience participation. There weren’t even Aria Umezawa’s characteristically minimalist touches. What there was a carefully constructed Barber for reduced forces directed by new Artistic Director Jessica Derventzis and conducted by Evan Mitchell.
So you have sung the Queen of the Night exactly 2,327 times; high Fs and all, and you are sick to death of it and the Misogyny it rode in on. What do you do? Well, obvs you create a one woman show that teeters between mocking opera stereotypes of women and something much darker. At least that’s what Teiya Kasahara did as part of Tapestry Opera’s Tap This: A Queerated Opera Series presented in conjunction with Pride.
So our favourite inked butch dyke coloratura comes on in a foofy dress complete with Dollarama coronet and wand and starts to sing the heck out of that aria – you know, the one they sing at weddings. But then it rapidly morphs into a diatribe; first in German, then in heavily accented English, about the role, how women are portrayed in opera, occasionally veering into how women; sopranos in particular, are seen/treated in the opera world(*) before switching up into dress pants and a wing collared shirt with studs (despite pianist David Eliakis’ increasingly frantic pleas of “no pants”). Along the way there are jokes, some killer singing and some very sharp reminders of what it’s like to be a strong, athletic, queer woman in a world that expects its sopranos to behave as if they are romantically dying of TB on-stage and off. It’s a very moving and rather disturbing 45 minutes that I really can’t do full justice to. It’s a very brave show and I hope Teiya puts it on again. More people need to see it.
(*)It’s odd that it should come just after I first encountered Kiri Te Kanawa live for surely few sopranos have been as sexually objectified. I don’t know how many people remember Bernard Levin’s Times column written after her ROH debut in 1971 but it’s probably the only time the Thunderer was printed using drool.
And so to the concluding drama; judgement. There were a ton of prizes ($270,000 in all) and the “lesser” ones got announced first. So here’s the list of everybody except the winners of the two main competitions:
And so the final act. First on stage was Emily D’Angelo; the only lady left in the competition. It was an accomplished and varied set. She started with a characterful and technically proficient Una voce poco fa followed by an appropriately lyrical Must the winter come so soon? Coeur sans amour from the Massenet Cendrillon showed off excellent French before a suitably dramatic rendering of the Komponist’s aria from Ariadne. Pretty much all the mezzo bases covered there and covered very well.
The Royal Conservatory has announced its concert programme for 2018/19. It’s not massively exciting from a classical vocal point of view although there are a few goodies and the odd surprise in the package. The most exciting is saved for the very end of the season when Thomas Hampson and son-in-law Luca Pisaroni have a recital at Koerner. That’s on 30th April 2019. The most surprising is the season opening gala, also at Koerner, on 2nd October 2018 which features Kathleen Battle. I’ll be honest, I thought she retired years ago.
I missed the aria semis but here are the singers who will feature in the final tomorrow night:
That which had to be done is done. What follows is a write up from my notes of Sunday’s art song final. Please bear in mind that I was less than fully emotionally engaged and you may well prefer Gianmarco Segato’s thoughtful review.
Julien van Mellaerts sang first. He started off in conventional territory with Strauss, Schumann and Wolf; showing good command of the Lieder style, expressiveness and a willingness to vary dynamics. A pleasing version of Adams’ For You There is No Song was followed by the weird and somewhat chilling Genius Child by Owens; a neat contrast. The set concluded with Debussy’s Trois ballades de François Villon. There was some lovely, delicate singing here with some ravishing floating notes. Overall, as in the previous rounds, very good stuff without, perhaps, having the X factor.
So, ironically enough, as the Toronto critics began to arrive in Montreal for the final stages of the CMIM, personal circumstances forced my return to Toronto. It’s not a happy time and my emotional ability to engage with performances is very limited. I realised this yesterday at the art song final where four very fine performances failed to generate any emotional response in me. It was at that point I finally admitted to myself that my duty and my sanity lay at home and I made my arrangements to return. Hopefully I’ll be able to watch at least some of the webcasts but even that may be hard for the next 24-48 hours. So, my apologies if this is where you have been following the CMIM. Both Opera Canada and Schmopera, among others, will have full coverage so I suggest you check them out. I’ll see you again on the other side.
So sitting in the hall waiting for the judges to come back I made my own list of the likely finalists and reflected on a few things. I had Summerfield and Brancy clearly top, despite their contrasting styles. Osowsky and van Mellaerts seemed the most likely to join them in the final though I would not have ruled out one of the others sneaking the fourth place. And it turned out that Brancy, Osowsky, Summerfield and van Mellaerts were, indeed, the judges’ choice.
operaramblings 